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SANNE GLISSOV

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Sanne Glissov resides and works in Denmark. Her studio is located in the contryside of South Zealand.

Since her debut, 1994 at The Royal Danish Academy af Art, her work has been exhibited extensively in Denmark and Europe.

Her painting style references the Classicism of the Renaissance - not a hopeful return to the celebratory rationalism of Raphael but a fragmented and displaced Classicism – a dislocation of Caravaggio.

 

Represented by :

Gallery Brænderigården, Horsens / Gallery Elise Toft, Kolding / Gallery Knud Grothe, Charlottenlund / Gallery RoS, Roskilde

 

 

Some reviews:

There are many hints at Art-historical moments in Glissov`s work, from Classicism to Pop, from Romanticism to Minimalism, from Realisme to Surrealism. These diverse references play upon Art history`s many oppositions, and create a metaphor for the wider dualities that have dominated philosophies throughtout history. These traditional dualities are highlighted in - and are the real focus of her work. The point is that she presents them not as extremes that we measure ourselves against, but as two sides of the same coin: extremes that are contained within each of us and between whose poles we fluctuate and are torn.

 

**Glissov has created many startling images but even more captivating are those of her paintings where the Classicism turns viciously upon humanity - devours it- such as can be seen in the haunting work, Do You Not Hear The Deeper Song? This painting finds an inverse in Aminus, where the classical figuration breaks down and the model`s head becomes a montrous, Goya-esque shadow. David Barrett, Art Mounthly

Sanne Glissov er en af tidens mest spændende danske malere. Hun bruger samme teknik som de hollandske mestre og hendes motiver er evigt gyldige. Det er på en måde klassiske billeder som Leonardo da Vinci kunne have malet dem hvis han havde fået hjælp af Salvator Dali. De er foruroligende.

De fortæller om de roller vi vikler os ind i, om de mange lag vi består af, men de fortæller også om tiden, om deltagelse i krig, om integration af de fremmede, om tolerance og mangel på samme, om forståelse i stedet for had.

Knud Jakobsen/Vestjydske tidende

Uanset om Glissov maler to mandlige forretningsfolk i en lufthavnsterminal, en nøgen sovende kvinde på en sofa eller en skikkelse som står i et dramatisk gammel testamenteligt klippelandskab, er det tydeligt ,at personen ikkke er en aktiv deltager, men en passiv beskuer i denne verdens temmelige prosaiske hændelser. Dermed tilfører kunstneren en form for ironi ind i maleriet. Ikke den drengede, banale form for ironi, men en mere nøgtern, solidarisk form for ironi.

**Sanne Glissov`s malerier er i enhver henseende yderst moderne og vedkommende, rammende lige ned i vores tidsånd,

Tom Jørgensen/ Kunstavisen

 

Sanne Glissov`s overraskende malerier vækker for det første til nærmest åndeløs eftertanke og betager for det andet ved sin tekniske perfektion. Eva Muller/ Kunstavisen